Nikon Sb 700 Compatibility

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Nikon SB-500 on included AS-23 stand (rated GN 79'/24m, measured 3 second recycling at full power, 9.8 oz./279g with 2-AA alkaline or Ni-MH cells, about $247).

I got mine at Adorama; I'd also get itat Amazon or at B&H.

This ad-free website's biggest source of support is when you use those or any of these links to my personally approved sources when you get anything, regardless of the country in which you live. Nikon does not seal its boxes, so never buy at retail or any source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, dropped, damaged or used flash, a customer return or if the warranty has already been registered to someone else online!

The approved sources I use ship from secure, remote automated warehouses where salespeople or other customers never, ever get to touch your flash, and they have the best prices, selection, service and return policies. Rear, Nikon SB-500. May 2018 Nikon ReviewsNikon LensesNikon FlashAll Reviews. Small Canon & Nikon Flashes Compared. The Nikon SB-500 is a small flash for use on all Nikon's DSLRs except the D1 series and D100, as well as many better Coolpix and the Nikon F6.

It won't work with 35mm cameras other than the F6, since it needs a camera that uses Nikon's i-TTL system, introduced in 2003 with the D2H and F6.

The SB-500 works very well. Recycle time is usually instantaneous and it will cheerfully fire at 5 frames per second for a while at most distances.

With freshly charged eneloop I measure only 3 seconds maximum recycle time from a full-power dump, which is superb.

It also works as an i-TTL slave.

Sample Images

Other modes and almost everything else is controlled from the camera's menu system.

The SB-500 also works as a TTL commander, but only from the D750 and D810 as of April 2015.

There is no AF illuminator, but there is a continuous-light white LED video helper light where the AF illuminator used to be.

The SB-500 doesn't zoom, and it doesn't need to. It does bounce in all directions. Guide Number 79 feet (24 meters) at ISO 100, rated. 1/1,100 second duration at full power. 100 Lux maximum at 1 meter.

3.5s with Ni-MH. 4s with alkaline. As wide as 24mm on full-frame. As wide as 16mm on DX. No longer limit. i-TTL (Nikon cameras from 2003 - on) and manual only, controlled through camera menus. Clicks at 0º, +60º, +75º and +90º up.

Clicks at 30º, 60º, 75º, 90º, 120º, 150º and 180º left or right. 2 AA cells, Alkaline or Ni-MH. Rated 100 full-power flashes at 30s maximum recycling time from alkalines.

Rated 140 full-power flashes at 30s maximum recycling time from Ni-MH. Rated 30 minutes minimum LED light with alkalines. Rated 60 minutes minimum LED light with Ni-MH.

All plastic, like all flashes, except for metal foot and locking pin. 2.6 × 4.5 × 2.8 inches WHD. 66.0 × 114.3 × 71.1 mm WHD. (278.85 g), actual measured with 2-AA eneloop.

(227 g) empty, 9.7 oz. (273 g) with alkalines. SS-DC2 sack ($14 replacement cost, Nikon product number 4103). AS-23 plastic stand ($11 replacement cost, Nikon product number 4102).

English and Spanish printed manuals. Included sack SS-DC2, Nikon SB-500. 12 September 2014 at 12:01 AM NYC time.

SB-500: 4814, which includes:. SS-DC2 sack: 4103. AS-23 plastic stand: 4102. $247 actual selling price, April 2015 ~ May 2018. $249.95 list price at introduction, September 2014.

Box, Nikon SB-500. Guide Number 63 feet (19 meters) at ISO 100. This is 2/3 of a stop less than rated, and very good since most Japanese flashes measure one stop less than rated. Therefore the SB-500 is about a third of a stop more powerful than I expected.


3.0 seconds with freshly charged eneloop at full power, which is very fast.

Most shots don't use anything near full power, so most of the time you'll have instant recycling and can shoot as fast as you like.

In other words, most of the time the ready light never goes off except when it goes to sleep.

Adorama pays top dollar for your used gear.

I buy only from these approved sources. I can't vouch for ads below.

Unlike some flashes, when you pick up your camera after it's gone to sleep, the SB-500 wakes instantly and is fully charged, ready to shoot as soon as you wake your camera. This is as good as the SB-400, which means you never have to wait a few seconds for the flash to recharge when you pick up your camera. This presumes you leave the SB-500 power switch ON, in which position the SB-500 goes to sleep when you camera does so it won't discharge the batteries.

Even when I pick up my camera the next day, the SB-500 is ready instantly. In the Nikon system, flash exposure is measured and controlled by the camera. The flash simply responds to camera commands. The SB-500's exposure is the same as all my other Nikon flashes.

As always, the only problem is if you're way too close or too far away, but within range, no problems here. All my shots from at least as close as 1.5 feet are exposed just fine. I like having a big rotary switch for power and functions, but I don't like the lock which makes it more clumsy.

I'd rather have a slide switch as on the SB-400, and any of these is a zillion times better than having to hold a button for a moment to turn on or off. The SB-500's white LED works well as an LED, but on-camera main lights have always been poor ways to light video. Like other flashes with built-in white LEDs, the built-in LEDs don't have much range, but are fine for making clean home videos.

The LED has reasonably consistent color and illumination across the beam, better than most. It looks like about daylight (5,500K), and its CRI (color-rendering index) seems pretty good. Sadly it's 5,500K only. Even my iPhone has an LED system that changes color to match tungsten or florescent (who do you think gave them that idea?).

The SB-500's fixed 5,500K color is pretty useless, because it can't be used indoors unless you gel (filter) it to match the existing light, and outdoors it's probably too dim to be of any help unless you're very close.


Used under fluorescent light, most cameras will auto white balance to florescent and this light will look very purple. Used indoors under tungsten of halogen light, the camera will auto white balance to that and the light from this LED will look ghastly blue.

As of April 2015, only the D810 and D750 will set themselves to Daylight white balance when in AUTO WB and you turn on the LED. This will make ambient light look very orange indoors, or green under fluorescent light, but will make the LED light look reasonably white.

The best use of this LED is if you have no other flashlight and need to look in your bag at night.

Using any on-camera point light source like this is the best way to make videos that scream "amateur."

Sorry, but the main reason a Hollywood movie looks as it does is because we spend three days designing the lighting for each location.

That's why there are so many trucks on location; 3/4 of them are for all the lighting needed to make it look as if we didn't use any lighting.

Anyway, to use this LED for video, Nikon really needs to have several LEDs that automatically set themselves to the camera's detected auto white balance (as I've suggested before).

To make it more useful as a flashlight, there shouldn't be any need to unlock and turn the switch to LED. The firmware should be corrected so anytime I hold the LED button that it turns on or off the LED.

It draws 225 mA, 450 mA, or 900 mA at the low, medium or high settings. With 2,000 mAh eneloop, this means about or 8, 4 or 2 hours of light at each setting.

This is a great flash with a very basic white LED on front. It's a great for stills, but very basic as a continuous video light.

Small Canon & Nikon Flashes Compared.

The SB-300 is junk. It's small, but weak and takes odd-sized little AAA cells and takes too long to recycle after each flash.

Forget about it. I love and usually use my SB-400, which does everything I need, and is half the size of the SB-500.

Even the SB-400 has plenty of power for daylight fill and keeps belting out many, many flashes fast without faltering.

The SB-400 has been discontinued, but Amazon still has them for $290 new and you can get all you want used at eBay for about $150 each (see How to Win at eBay.).

The SB-700 is a much larger flash that has much more power, but we don't need more power unless we're shooting sports all day at high frame rates and need to belts out a ton of power quickly, all day long.


Nikon's biggest SB-910 is for wedding and news pros.

Built-in flash . Recycle time, Ni-MH*. Widest coverage FX/DX.

0, 60, 75, 90º . 0, 60, 75, 90º . Only on D750 and D810. drawstring bag . padded nylon, also includes a diffuser, colored filters and a stand .

2.6 × 4.5 × 2.8". 66.0 × 114.3 × 71.1mm. 2.3 × 2.6 × 2.5". 57.4 × 65.4 × 62.3mm.

2.6 x 2.2 x 3.1" .

66 x 56.5 x 80mm. 71 x 126 x 104.5mm.

* Actual measured values . See Nikon's SB-500 User's Manual for more details.


Press the center unlock button and turn the switch. Sleep and Standby. It will go to sleep if not used, and wake right up as you tap your shutter. This is normal; there is no way to set it to stay on permanently and run down the batteries. To use the front continuous-light LED, press the center unlock button and turn the rear switch to the movie light position.

Now hold the LED button for a few seconds to turn it ON or OFF.

Tap it to change the brightness.

Set your choice of TTL, Manual or Commander mode in your camera's menus, and the TTL, M or CMD LED will light on the back of the SB-500 to tell you what it's doing.


The white LED turns off when the camera goes to sleep, but won't turn back on when the camera wakes until you turn it on again.

If the ready light on the flash and in the finder blinks slowly for just three seconds right after you take a picture, the flash didn't have enough power.

Get closer or open the aperture or increase the ISO and try again. The ready light flashes twice per second for 40 seconds when the batteries are low.

Flash Exposure Balance with Ambient Light. Normally the standard i-TTL mode balances the flash with ambient light for a pretty picture.

If you want the flash to be bright enough to be the sole source of illumination, switch your camera to SPOT metering. In other words, most of the time the flash only uses enough power to contribute a pleasant amount of light that balances with the rest of the light in the picture, but if you set SPOT metering, it will fire with enough power to provide 100% of the light.

i-TTL Remote Flash. See How to Use the Nikon i-TTL Flash System. It works as a master commander only on the D750 and D810 as of April 2015.

When used on these cameras, it is a full-function commander.

When used as a slave, it only works on channel 3, and only on group A or group B, but the good news is that these set directly at the power switch, no menus needed.

Slow Sync, FP Sync, Red-Eye and other modes.

These are all set in your camera's menu system. Cameras will vary; but it should be somewhere near MENU > Custom (pencil) > e Bracketing/Flash > Flash control for built in flash. The SB-500 is Nikon's best small flash made in 2015. It's small, fast and powerful. It does exactly what it needs to and gets out of my way so I can take pictures.

Lens Compatibility

The SB-500 is the best new flash Nikon has introduced since the SB-400 of 2006.

If you think you want an SB-500, you'll love it!

© Ken Rockwell.

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The electronic rangefinder works with lenses as slow as f/5.6. There are also 9 selectable focus points that will work with lenses as slow as f/8.

More at Nikon Lens Compatibility and Nikon FX Lens Recommendations.

Nikon D5 with 50mm f/1.4 AI.bigger.



SpecificationsUSA VersionPerformance


Frame Rates

CH (Continuous High): 12 FPS with full AF and AE. (14 FPS with mirror locked-up in a laboratory with no metering or focussing.

CL (Continuous Low): selectable 1 to 10 FPS.

QC (Quiet Continuous): 3 FPS.

Frame Buffer

200 frames raw.


Same as the D500:

Work down to LV -4, which is full moonlight on sand.

55 selectable points.

Of these selectable 55; 35 are cross-type sensors and only 9 work at f/8.

153 AF points hidden under the hood, but you can't select all these manually; you only can select 55 of them.

Only 99 of these hidden sensors are cross-type.

Only 15 hidden sensors work with f/8 lenses.

Face-Priority AF; should automatically find faces and focus on them.

Multi-CAM 20K AF sensor module.


35.9 × 23.9 mm CMOS.

Ultrasonic cleaner.

Image Sizes

FX (24 × 36mm)

5,568 × 3,712 (L), 4,176 × 2,784 (M), 2,784 × 1,856 (S).

5:4 (24 × 30mm)

4,640 × 3,712 (L), 3,472 × 2,784 (M), 2,320 × 1,856 (S).

1.2× (20 × 30mm)

4,640 × 3,088 (L), 3,472 × 2,312 (M), 2,320 × 1,544 (S).

DX (16 × 24mm)

3,648 × 2,432 (L), 2,736 × 1,824 (M), 1,824 × 1,216 (S).

Stills shot during video

3,840 × 2,160 when shooting 4K.

FX cropped to 16:9 (5,568 × 3,128 (L), 4,176 × 2,344 (M) or 2,784 × 1,560 (S)) when shooting 1080 or 720 video.

DX cropped to 16:9 (3,648 × 2,048 (L), 2,736 × 1,536 (M) or 1,824 × 1,024 (S)) when shooting 1080 or 720 video.

1,920 × 1,080 when shooting any of the 1080 cropped modes.


ISO 100 to 102,400, expandable from ISO 50 ("LO -1") to ISO 3,276,800 ("HI + 5").

Auto ISO

White Balance

All with individual fine-tuning:

Auto (3 types).


Fluorescent (7 types).

Direct sunlight.




Preset manual.

6 stored presets.

Spot white balance also with live view.

Kelvin (2,500 K to 10,000 K).


Yes, in camera.

Color Spaces

sRGB and Adobe RGB.

File Formats

NEF (Raw): 12 or 14 bit (lossless compressed, compressed or uncompressed); large, medium, and small pixel sizes (medium and small images are recorded at a bit depth of 12 bits using lossless compression)

JPG: Fine (approx. 1:4), Normal (approx. 1:8) or Basic (approx. 1:16) compression. Usual optimal quality or fixed size options.



Video Frame Rates and Sizes

3,840 × 2,160 (4K): 29.97p, 25p or 23.976p.

1,920 × 1,080: 59.94p, 50p, 29.97p, 25p, 23.976p.

1,920 × 1,080 cropped-sensor; 59.94p, 50p, 29.97p, 25p, 23.976p.

1,280 × 720; 59.94p, 50p.

You can select high or normal quality at all these, except only normal at 4K.




Stereo Linear PCM with movies.

Separate mic for voice notes.


100% coverage. (only 97% in DX and 1.2× crop; only 97% horizontal in 4:5 crop.)

0.72× magnification with 50mm lens.

17mm eyepoint.

-3 to +1 diopters.


30s to 1/8,000, Bulb.

Remote Release

10-pin Nikon remote terminal for things like the optional WR-R10 wireless flash controller, which requires the WR-A10 adapter to attach.

The WR-1 Wireless Remote Controller, GP-1/GP-1A GPS Unit, or GPS device compliant with NMEA0183 version 2.01 or 3.01 (requires optional MC-35 GPS Adapter Cord and cable with D-sub nine-pin connector) also attach.

Won't work with the ML-L3.


Flash Sync

1/250 sync speed.

Flash Control

Nikon's usual i-TTL, as well as Creative Lighting System (CLS) and new Advanced Wireless Lighting (AWL).

No native internal remote control ability; have to use a flash on-camera for optical wireless control or an external WR-R10 and WR-A10 adapter to connect the WR-R10 to the D5 for radio control.

Compatible Flashes


Only the SB-5000 can be fired via radio, and then only if you buy a WR-R10 and WR-A10 adapter to control it from the D5.

Optical Wireless

For the usual on-camera TTL use, any CLS compatible flash is fine, which is the SB-5000, SB-910, SB-900, SB-800, SB-700, SB-600, SB-500, SB-400, SB-300 or SB-R200.

Old non-TTL flashes

Older flashes will fire, but you'll lose TTL (through-the-lens) exposure control and won't even get an in-finder ready light. Older flashes like the SB-28 or SB-20 work fine in their non-TTL auto modes which use a sensor on the flash itself. Simpler flashes like the SB-23 that have no on-flash auto mode will only work manually.

PC (Prontor-Compur) Sync Terminal

Yes; ISO 519.

Light Meter


180k pixels.

3D Color Matrix.

20mm, 15mm, 12mm or 8mm diameter center-weighted. (only the 12mm circle works with old manual-focus AI lenses.)

4mm spot at the selected focus point (only the center point with old manual-focus AI lenses).

Meter Range

LV -3 ~ +20.

Spot meter: LV 2 ~ 20.

Live View

Yes, for stills and movies with the usual options.

LCD Monitor

3.2" (8cm) TFT.

Touch sensitive.

2,359,000 dot (XGA).

170° viewing angle.

100% frame coverage.



Comes in two versions:

CF card version: Two slots for the usual Type 1 UDMA 7 CF cards. The slots are too thin for the old microdrives.

XQD card version: Two slots for XQD cards.

Both have the usual options for the two cards: dual (backup), sequential (overflow) or RAW/JPG.


Connectors, Nikon D5. bigger.

USB 3.0 Micro-B.

Type C HDMI.

3.5mm stereo audio input with plug-in power.

3.5mm stereo audio output.

10-pin Nikon remote: for things like optional WR-R10 (requires WR-A10 adapter) or WR-1 Wireless Remote Controller, GP-1/GP-1A GPS Unit, or GPS device compliant with NMEA0183 version 2.01 or 3.01 (requires optional MC-35 GPS Adapter Cord and cable with D-sub nine-pin connector)

Peripheral connector for WT-6/A/B/C, WT-5A/B/C/D Wireless Transmitters.

RJ45 for Ethernet:


400MBps maximum


IEEE 802.3ab (1000BASE-T)

IEEE 802.3u (100BASE-TX)

IEEE 802.3 (10BASE-T)

10/100/1000 Mbps with auto detect


Nikon EN-EL18a battery.bigger.

Bottom, Nikon EN-EL18a battery.bigger.

EN-EL18a Rechargeable Li-ion Battery, same as D4 and D4s.

MH-26a dual battery charger, included.

Rated 3,780 shots, CIPA (23°C/73.4°F (±2 °C/3.6 °F) with an AF-S NIKKOR 24– 70mm f/2.8E ED VR, focussed from infinity to minimum range and one photograph taken at default settings once every 30s. Live view not used.)


Rated 8,160 shots, Nikon's fairy-tale way (23°C/73.4°F with an AF-S VR ED 70–200mm f/2.8G, vibration reduction off, JPEG normal Large), 1/250 s, focus cycled from infinity to minimum range three times after shutter-release button has been pressed halfway for 3 s; six shots are then taken in succession and monitor turned on for 5 s and then turned off; cycle repeated once standby timer has expired.)


Rated 110 minutes of video, CIPA (1080/60p, 23°C/73.4°F (±2°C/3.6°F), default settings, AF-S NIKKOR 24– 70mm f/2.8E ED VR . Individual movies are composed of one or more files, each up to 4 GB in size, and can total up to 29 minutes 59 seconds in length; recording may end before these limits are reached if the camera temperature rises.

Optional EH-6b AC Adapter, which needs an EP-6 Power Connector.

Nikon MH-26a battery charger.bigger.

Bottom, Nikon MH-26a battery charger. bigger.


6.3 × 6.3 × 3.7 inches.

160 × 158.5 × 92 millimeters.


49.667 oz. (1,408.1 g. or 3 lbs., 1.667 oz.) with battery and two CF cards, actual measured.

Rated 49.9 oz. (1,415 g. or 3 lbs., 1.9 oz.) with battery and two CF cards.

Rated 43.8 oz. (1,240 g. or 2 lbs., 11.8 oz.) stripped.

49.6 oz. (1,405 g. or 3 lbs., 1.6 oz.) with battery and two XQD cards.

43.6 oz. (1,235 g. or 2 lbs., 11.6 oz.), stripped.

EN-EL18a Battery Only

6.375 oz. (180.75 g) with end cap, actual measured.

5.575 oz. (158.05g) without end cap, actual measured.



BF-1B Body Cap

BS-3 Accessory Shoe Cover

EN-EL18a Rechargeable Li-ion Battery and BL-6 Battery Chamber Cover

MH-26a Battery Charger

UC-E22 USB Cable

AN-DC15 Strap

USB Cable Clip

HDMI Cable Clip

DK-27 Eyepiece Adapter

DK-17F Fluorine-Coated Finder Eyepiece


Nikon D5. bigger.

The D5 camera itself is made in Japan.

The battery, charger, strap, USB cable and almost everything else is from China.

Environment, operating

0 to 40°C (32 to 104°F).

85% or less RH, no condensation.


Tuesday, 05 January 2016, 3PM NYC time.

("Development Announcement:" 18 November 2015.)

Promised for

March 2016.

Rendered Obsolete

12 February 2020, by the D6.

Price, USA

June 2021

About $2,800 ~ $4,500 used if you know How to Win at eBay or about $3,700 from Amazon (CF version) or $3,700 from Amazon (XQD version).

February 2020

$5,497 for either of the two CF-card slot ortwo XQD slot versions.Also came from B&H with CF card slots, from B&H with XQD card slots, from Amazon (CF version) (also from Amazon (XQD version) or from Crutchfield in CF version or in XQD version.

$4,759 if you want to risk gray market.

About $3,500 used if you know How to Win at eBay.

January 2016 ~January 2017

$6,497 for either of the two CF-card slot ortwo XQD slot versions.

$5,197 if you want to risk gray market.

Box, Nikon D5. bigger.

Box back, Nikon D5. bigger.

Getting a Legal USA Version (for USA only)


SpecificationsUSA VersionPerformance


In the USA, be sure your box says D5 (US) above the UPC bar code:

USA box end, Nikon D5. bigger.

If the letters are different, you got ripped off with a gray market version from another country. This is why I never buy anyplace other than from my personally approved sources. You just can't take the chance of buying elsewhere, especially at any retail store, because non-USA versions have no warranty in the USA, and you won't even be able to get firmware or service for it — even if you're willing to pay out-of-pocket for it when you need it!

If a gray market version saves you $1,000 it may be worth it, but for $200 or less I wouldn't risk having no warranty or support.

Always be sure to check your box while you can still return it, or just don't buy from unapproved sources or at retail so you'll be able to have your camera serviced and get free updated firmware as needed.

Nikon D5 USA Warranty Card.bigger.

Even easier, a legal USA version has a warranty card from Nikon USA. The serial number on the card must match the serial number of your camera, or you have no warranty. The serial number on the box should also match the serial number on your camera.

In the box, Nikon D5. bigger.

US versions include two printed manuals, one in English (shown on left) and uno en español (a la derecha).

Get yours from the same places I do and you won't have a problem, but if you take the risk of getting yours elsewhere, be sure to check everything while you still can return it.



SpecificationsUSA VersionPerformance



Frame rate is everything in sports and action photography, and this is Nikon's fastest camera ever, so for sports shooters, there is nothing comparable from Nikon.

Its superb AF performance matches the fast frame rate, and low-light, Auto White Balance and high ISO performance are all state of the art. No other Nikon can keep up with the D5.


Autofocus is completely clairvoyant. It finds the subject and focuses on it all by itself, just like our eyes. I set the AUTO AF-Area select mode, and I don't have to use the AF zone select button or nubbin anymore. BRAVO!

The D5 is superior for how well it automatically identifies and locates your subject in the frame, locks on to it, and then proceeds to track it and keep it in perfect focus as it moves in and out and runs across your screen.

This is easy to do: just set AF-C and AUTO AF area select and just shoot. Back in the 1990s it took a long time to set a multi-AF-zone Nikon SLR to track motion; today it's simple.

I've never used any camera that comes close; the D5 easily locks-on and tracks real subjects at 12 FPS and every frame is in perfect focus. Other cameras either need me to show them where to start focussing, or lose focus as they attempt to track. The D5 is a significant step forward.

Even for static subjects, the D5's ability to find the face and focus on the closest eye without you having to select anything saves time, and gets the shots that others will miss as they're fumbling with their camera.

For moving targets it's a wonderful thing to see the sea of dancing red boxes stay on my subject as it moves all over. Unlike other cameras whose manufacturers claim this ability but never really work in practice, the D5 really does find, lock and track subjects for long sequences, all in perfect focus.

In this sequence at 12 FPS below, not only did my D5 find Katie's face, lock-on and track, as you'll see at the full-resolution files if you click on any of these thumbnails is that every single frame is dead-on in focus, and these are all shot at f/2.8 with the 80-200mm f/2.8 AF-S — and I was changing zoom settings as Katie approached much faster than my change in zoom settings to track her approach implies.

Katie Scootering, July 2016.Nikon D5 at 1/2,000 at 12 FPS at ISO 100, Nikon 80-200mm AF-S at f/2.8. Click any for the camera-original full-resolution file to explore on your computer.

As you'll see, each is hair- and thread-sharp, and so are the rest of the frames I didn't show in the even longer series of images.

While it sees past junk to find our subject's faces magically, when it's tracking at 12 FPS it often will instantly refocus on a foot that flies in front of a face; I'm sure there's a setting to tell it to calm down and not refocus quite so fast, but this wasn't bothersome enough for me to want to find that setting.

Autofocus speed with one selected sensor is the same as older cameras. The advantage in real speed comes from the D5's ability to manage multiple AF sensors to track subjects as they run all over the frame, and to find the subject automatically in the first place.

Katie Scootering. Nikon D5 at 1/1,000, 1/1,250 and 1/1,600 at 12 FPS at Auto ISO 100, Nikon 80-200mm AF-S at f/2.8 at 105mm, 86mm and 80mm. Click any for the camera-original full-resolution files to explore on your computer.

These were picks again from a longer sequence, all at 12 FPS and all perfectly focussed and exposed, all done fully automatically by my D5. As I panned from side light to direct light the D5 changed exposure perfectly on the fly, as well as found the face, tracked it, and focussed perfectly.

Frame Rates

I'm impressed: not only does it really run at 12 FPS and sometimes faster, it does this while continuously tracking autofocus. Other cameras usually only meet their claimed frame rates with static subjects, but as shown above, the D5 really does run at 12 FPS even when it's having to focus and change exposure for each and every frame.

Frame rate is everything in action photography, and the D5 is Nikon's fastest ever.

Katie jumps rope.Nikon D5 at 1/1,250 at 12 FPS at Auto ISO 100, Nikon 80-200mm AF-S at 80mm at f/4. bigger or full-resolution file to explore on your computer.

The one gotcha is that the D5's mirror is flapping at 12 frames per second, so the live optical view through the finder gets blurry, but still clear enough to frame. The D5 is taking care of focus all this time, with the red LED boxes magically tracking your subject all the time.


The D5 is ultra-fast once you have it set up, but compared to the D7200, D610, D750 or my Canons, takes too long to swap between settings for different kinds of pictures.

As covered above, Nikon's two Settings Banks are awful. They cannot be locked, each only recalls about 1/3 of what you need (they don't recall AF, ISO or advance modes for instance). I do use these banks, but it takes about seven clicks to recall both of them, and I still have to set many other settings manually just to swap between my settings for people or for things.

There is no Quick Set screen to get us to the common settings, so we sometimes have to wander around the menu system looking for them.

The Recent Items menu excludes some things I use, like battery info, so it's not really that useful.

It still takes a moment, which is a moment way too long, for the D5 to wake when pressing MENU or PLAY.

Adding Image Comments is easier due to a much bigger display, and a touch screen!

The front command dial is oddly ignored when setting exposure MODE; only the rear dial works. The Shooting Menu Bank now recalls the exposure mode.

Most of left side, left top and bottom-row buttons light up, but not the advance mode dial, not the right side or right top buttons.

The grips and controls are all excellent.

The grip and controls are also wonderful for vertical shooting. The worst thing about vertical shooting is that the button labels don't rotate as well! Everything else is all in the right place.


Direct view through Nikon D5 finder. It's actually much sharper than this photograph. bigger.

The D5 finder is far superior to the consumer cameras like the D810, mostly for its superior LED AF zone displays and the big bar graph on the right.

There's a big, beautiful vertical exposure bar graph that covers ±3 stops in third stops along the right side.

It's astoundingly bright, optimized for lenses of f/2.2 and most importantly, the AF zones light in LED additive red without covering anything. The D5 doesn't use black LCD boxes like consumer cameras; the screen is completely clear and the red AF areas light up like magic without covering anything.

Also nice is that the center-weighted and AF area graticules are very thin and don't interfere with our view. They are invisible unless we look for them; they are too fine to appear in my fuzzy photo above.

The eyepiece shutter, used to keep stray light from altering the meter reading when your eye isn't on the camera, is oddly dark gray, so you won't see it! It's supposed to be bright red or another color that lets you know it's closed before you try to look through it.

The glass eyepiece cover assembly slides up to remove, and is locked-on with two latches.

The view through the finder gets pretty foggy when cranking at 12 FPS, but the AF indicators remain solid. This is because the mirror through which we see our view is flipping out of the way and back again 12 times a second, so we expect the finder image to be jumpy.


I've covered flash at Nikon D5 Compatible Flashes and at Nikon D5 Flash Usage.

Electronic Level

The Electronic Level is shown by lighting the AF area LEDs for roll, and since there aren't that many vertically, uses the right-side bar graph for pitch. The bar-graph "0" lights only when you're just right.

You can also see it on the rear LCD.

Auto White Balance

As covered at the top, Auto White Balance is superb. I haven't been able to fool it yet.

Auto White Balance is among the most important aspects of picture quality, and with the D5 it always nails the right colors in any light.

There are three AWB options, AUTO0, AUTO1 and AUTO2, to let us choose the level of realism (neutral colors) or romance (warm colors) we get in our indoor tungsten and halogen light shots. See samples at How to Use Auto White Balance.

Auto ISO

Auto ISO is completely flexible, with the maximum ISO settable from ISO 200 to HI +5. Default maximum is ISO 102,400.

Slowest speeds are as before: fixed settings from 30s to 1/4,000, or Auto based on focal length with ±2 stops of shift.

High & Low ISO Performance

Even ludicrously high ISOs look superb. The D5 has great color and tone at any ISO up to and including 102,400.

The D5 gets fuzzier, but stays clean, up to ISO 102,400.

At Hi+1 (ISO 204,800) and above it ignores picture controls and ADR settings, which is why the colors suddenly go dull below, because I keep my D5 set to Vivid and +3 saturation. These settings are ignored in the H settings.

Hi +1 and Hi +2 are usable, but forgo picture controls.

High +3 has a purple haze.

High +4 has a gray haze.

High +5 is awful. The image is completely gone and the pictures are useless.

Long Exposure NR won't help you here; it only works for exposures of more than about 1 second.

In other words, so long as you stay away from the ridiculous High + settings, everything looks swell. If you need ISO 102,400, use ISO 102,400.

High & Low ISO Sample Image Files

Complete Images

What we lose at high ISOs if you look at the original images and crops below are details and textures. As ISO climbs, we lose grain in the wood, the sparkles in the black grain on the right, and everything gets softer. Fireplace bricks inside the grille disappear first on the left then the right, and the dust on grill vanishes.

As I see it below, every ISO up to and including ISO 102,400 looks great at reasonable sizes as shown below. Only at Hi+1 (ISO 204,800) and above do the images start to suffer at web sizes.

Click any for the camera-original © files to explore on your computer; mobile devices rarely show the full resolution files properly.

No, this isn't a mistake: at ISO Hi+5 the results are pure garbage.

Crops from above

These are 600 × 450 pixel crops from the original images. They will vary in size to fit your browser window; if they are about 6" (15cm) wide on your screen, the complete image would print at 37 × 56" (1 × 1.5 meters) at this same magnification.

Click any for the same camera-original © files as above to explore on your computer; mobile devices rarely show the full resolution files properly.

In these crops, I see a fine scratch in the wood to the bottom left of the clock disappear by ISO 800. Fine wood grain also softens by ISO 200. Detail in highlights of the black wood on the clock softens at ISO 200, and everything gets softer and softer at each higher ISO.

At the really high ISOs, there isn't much left. This is what happens with all cameras; with the D5, these degradations don't happen until higher ISOs.

ISO 4,500

Who needs a tripod for interior shots? Nikon D5, Nikon 14mm f/2.8 AF-D, f/2.8 hand-held at 1/15 at Auto ISO 4,500. bigger or camera-original file to explore on your computer.

ISO 25,600

Katie behind pillows, July 2016. Nikon D5, Nikon 35-105mm AF-D at 105mm, f/4.5 at 1/125 at Auto ISO 25,600. bigger.

Distortion Correction

Auto Distortion correction works great. I can shoot 20-year-old AF-D lenses and the D5 can correct their distortion.

There's no need to load profiles as there is on Canon, but the corrections aren't always 100% accurate on older lenses like the Nikon 35-105mm AF-D.

The great thing is that with lenses that have complex, difficult-to-correct distortion signatures like the Nikon 14mm f/2.8 AF-D, that the D5 corrects distortion completely.


Cheesecake, 29 July 2016. 2016 Nikon D5, 1996 Nikon 35-105mm AF-D at 75mm, f/8 at 1/250 at Auto ISO 100. bigger or camera-original file to explore on your computer.

While "only" 20 MP (5,568 × 3,712 pixels native), 20 MP is still twice as many pixels as you need for anything. I've sold images to McDonald's for use on billboards that were only 4MP — and they cropped them!

I usually set my sharpening above the default in my Nikons. I set Sharpening to about 8 in my D5 and my JPGs are super-sharp right out of the camera.

Mechanical Quality

The D5 is mostly metal, with a metal body, lens release button and lens mount.

The card door is metal, but its release button cover, the battery cover and all the other buttons and controls are plastic.

Noise and Vibration

As with Nikon's earlier pro DSLRs, this is an industrial instrument built for speed, not for quiet refinement.

Therefore it's noisier than Nikon's consumer cameras, much as a race car is noisier than a Prius.

Quiet Mode

The Quiet mode disconnects the shutter cycle so that it doesn't recharge until you take your finger off the button after a shot.

The Quiet mode is a little quieter than regular, and reminds me of my F4's silent mode that chatters slowly when I take my finger off the shutter after a shot.

If you want quiet, get a D810, whose Quiet mode is much quieter than this D5.

While the D810 and my Canons have a continuous-shooting quiet mode, the D5 has only a single-shot Quiet mode.

Mirror Up

The MUP (Mirror Up) advance mode is poor, requiring a remote release or waiting 30 seconds for the shutter to fire.

Nikon needs to fix this. For goodness' sake, the default should be mirror-up at the beginning of a self-timer cycle (like on the 1970s Nikon FE) to simplify our shooting.

Voice Memos

Nikon took away the dedicated MIC button and made it an INFO button.

I set my Fn3 button to be the new MIC button (MENU > Custom > f1 > Fn3 > Voice Memo).

This makes it easy to record notes discreetly while shooting, which is very important for news and events.

Here's a sample voice memo file.

The voice memos have the same file name as the image with which they're associated, but end in .WAV.

More at Usage.


The top LCD is moderately large and clear.

Top LCDs are a throwback to 35mm film days; they're not needed today since the rear LCD can show us much more.

The D5's top LCD has a cyan electroluminescent backlight.

Rear Data LCD

The rear data LCD also has a cyan electroluminescent backlight.

It shows basic advance mode, image quality, white balance and card setting, which makes it extremely useful.

Rear LCD Monitor

No news here; it's sharp and accurate.

It has a 4:3 aspect ratio, so most photos won't fill the screen. Instead, normal photos have black bars top and bottom, so the effective diagonal of this 3.2" screen is only 3.07" (78mm). This would have been impressive back in 1999, but is sad today compared to my iPhone.

It has no Auto Brightness Control, so you have to set it manually as you go inside and outside. This is a pain; it should be automatic like a Canon 5DSR.

If you set it to +5 brightness it's about as bright as an iPhone 6s Plus in daylight, but highlights tend to be clipped.


It now has a touchscreen, which may be handy for scroll and zoom, but also can cover the screen with controls.

Oddly the D5 still isn't smart enough to rotate playback images as I turn my D5. I still have to hold the D5 in whatever orientation I need to see the images right-side up. The Rotate Tall option lets them all display right-side up, but the vertical shots have huge black bars on the side, and turning the D5 still won't let them fill the screen.

It takes too long to wake; it takes a moment which is a moment too long. What is this, 1999?

It's easy to swap among peoples' magnified faces; just turn the front dial to swap faces and the rear dial to swap frames.

Power & Battery

I get about 3,000 shots per charge if I'm shooting bursts at 12 FPS.

I'd probably only get 1,000 shots per charge if I stopped and looked at each shot on the LCD and then fiddled with settings for each shot.

This is excellent, especially if you've wasted any time with mirrorless cameras that only offer about one-tenth as many shots per charge.

The charger has two bays, which if you load two batteries, charges the second as soon as it's done with the first. This is great so you can load your batteries and come back later with both fully charged.

The charger has a few LEDs to tell us the charge state of each battery.

The battery arrives disassembled and totally dead.

It takes about 2.5 hours for a full charge from a completely dead battery.

Clock Accuracy

Clock accuracy is important to keep multiple cameras in sync when you you sort the photos by time.

My clock is more accurate than most, about 133 milliseconds slow per day, or about 4 seconds slow per month.

Every sample of D5 will be different.


Card Formatting

Cards are correctly formatted as "NIKON D5."


JPGs are tagged as 300 DPI.

JPEG LARGE Basic ★ files are about 4 MB.

JPEG MEDIUM Basic ★ files are about 1.9 MB.


The D5 automatically creates and records into a new folder when you have 999 frames in the existing folder.



SpecificationsUSA VersionPerformance


See also my full 2016 Pro DSLR Comparison and my Nikon DSLR History and timeline.

20 MP
16 MP
36 MP
18 MP
ISO Max**
Selectable AF Points

















Auto LCD brightness
Built-in Flash
Shoot-through Flicker?
Rear voice memo mic & rec. button















Price, 1/2016

$3,000 used

Price, 7/2016

$2,200 used

20 MP
12 MP
4 MP
2.6 MP
ISO Max**
Selectable AF Points
















Auto LCD brightness
Built-in Flash
Shoot-through Flicker?
Rear voice memo mic & rec. button













Price, 1/2016
$1,200 used
$150 used
$50 used
Price, 7/2016
$1,000 used
$100 used
$50 used

* Nikon lied and interpolated it up to 6 MP.

** In standard modes. This is a meaningless specification; cameras that let you set them higher simply look worse than cameras that can't go as high! This is merely a poster spec to try to bilk innocent people out of more money for more expensive cameras.

*** I said selectable AF points. Most cameras use many more invisible AF points to help out the ones you can see.

**** you can reprogram an Fn button for this.

***** With battery and card(s).

Nikon D5 User's Guide


SpecificationsUSA VersionPerformance



The battery arrives completely dead.

Charge the battery first.

To put the battery in the camera, remove the battery cover from the D5, attach it to the battery, and then slide the whole thing into the D5 and lock it by rotating the tab.

Making Settings

Be sure to press OK after making many settings, otherwise the D5 may choose to ignore your changes. Just to make it difficult, the OK button is on the left side; the center of the rear multi-selector isn't necessarily the OK button.

The rear LCD doesn't mirror settings that show on the top LCD as you change them. To have the rear LCD show this, press INFO.

Touch Screen

Don't forget you have a touch screen.

You can use the D5 just like every other Nikon DSLR without a touch screen, or also use the screen if you like.

The arrows at the bottom on playback select different frames. You also can swipe left and right to select other frames.

Rockwell's D5 Settings

Here's a link to my BIN file with all my personal settings.

Feel free to download this into your computer to load into your D5, but know that it will make your D5 the same as mine, and mine is programmed to add my personal copyright information into the EXIF of every image.

If you want to use this, be sure to reset your camera's copyright information to your own.

If you get lost, here is the clean setup file for a brand-new D5.

These file links do nothing on your computer. To use them, download the linked files to your computer, then copy the .BIN file to the top (root) directly of a CF card. The files are tiny, only about 57 kB each. Put that card in your D5, go to MENU > SETUP > Save/Load settings > Load settings to load any of these settings files into your D5.

Settings Banks

A core incompetancy of Nikon are the "Settings Banks" system used in many of its cameras, including the D5. Instead of a simple U1 U2 etc. setting that just recalls all your saved settings at once as on the D750, Nikon uses two sets of banks (the "Photo Shooting menu bank" and the "Custom Settings bank") to save camera setups. Sadly both of these two banks together only save 2/3 of what you need, and don't save important items like AF settings.

Worse, these settings banks don't lock; anytime you change anything, you also change what's stored in the bank. You can't actually save anything, making these nearly useless.

It also takes too many menu clicks to recall these two different banks. I do it by pressing the i button, selecting the Photo Shooting menu bank, selecting which one, pressing OK, then selecting the Custom Settings banks, selecting which one, then pressing OK, and hoping my shot isn't already gone.

I don't, but you can assign the Fn1 button to cycle through the Photo shooting menu by pressing MENU > CUSTOM SETTING MENU > f1 Custom control assignment > (pick Fn1 + dial) > choose SHOOT Photos shooting menu bank > OK.


There are way too many AF modes, so I disable the junk modes in a Custom setting (MENU > CUSTOM SETTING MENU > a9 Limit AF-area mode selection > (uncheck everything except 3D-tracking and Auto-area AF).

I don't do this, but you can program a custom button to control the AF area mode (MENU > CUSTOM SETTING MENU > f1 Custom control assignment > (pick a button) > (choose either AF-area mode or AF-area mode + AF-ON).

Want the fantastic action-tracking AF I mention? First set MENU > CUSTOM > a4 3D-tracking face-detection to ON, then press the AF button on the lower left near the bottom of the lens mount and spin the dials until you see AF-C (continuous AF) and AUTO (auto AF-Area select)in the finder and you're ready to shoot.


Avoid the HI settings if you can. ISO 102,400 looks great, but things really fall off at the H settings.

Hi+5 is garbage. Do not use it.

The ISO 50 (L-1) setting looks great; use it if you need it. It's even a little cleaner than ISO 100; the only disadvantage is the possibility of slightly less highlight dynamic range.

I always use AUTO ISO, and I program it to do exactly what I'd do if I had to do it manually. These settings are in my Settings File above.

Auto White Balance

Auto White Balance has three settings; AUTO0, AUTO1 and AUTO2.

All three look the same most of the time, except under indoor tungsten or halogen lighting, in which case you can choose how romantically warm you'd like the colors shifted from how they look in person:

AUTO0 does its best to keep whites white, even under tungsten. It's the default setting.

AUTO1 is normal; tungsten may be rendered a little warm.

AUTO2 keeps tungsten lighting warm.

It probably has a similar effect under 2,700K LED or fluorescent lighting, but I don't shoot low-end properties so I haven't tried.

Click any to enlarge:

Wine Room. All three shots: Nikon D5, Nikon 14mm f/2.8 AF-D, f/8 hand-held at 1/15 at Auto ISO 4,000. Click any to enlarge.

Thumb Nubbins

You can program what these do at MENU > Custom Settings > f1 Custom control assignment. I set mine to select AF areas, and for the center press to return to the center AF area.

You can also set this to many other things, and the second thumb nubbin for vertical shooting can be programmed separately.

Advance Modes

Advance Mode Dial
Continuous Low; in this case I chose 3 FPS in a menu
Continuous High; in this case I chose 12 FPS in a menu
Quiet mode
Self Timer
I chose 2-second delay in a menu.
Mirror up. Mirror goes up when you press shutter button, and picture takes when you press it again. Works best with a cable release, if not, wait 30 seconds and the picture will take.
as set with lower rear left button and dialSet this, and now you can press the lower rear left button with the same symbol and use the two main command dials to set the advance mode.

Sadly the Rectangles mode that allows remote setting isn't saved or recalled with Settings Banks, so AF mode isn't recalled.

Quiet Mode

To shoot quickly in the Quiet Mode, which only offers single shots, learn to feel the exact firing point of the shutter button, and feather it back and forth over this point to shoot quick sequences.


Flash Mode and Compensation Control Button

Nikon moved the Flash button to the row of buttons running along the left side of the D5; its no longer up by the flash.

Wireless Control

Nikon now calls their remote wireless flash control system "Advanced Wireless Lighting," or AWL, which now works wirelessly either optically or by radio.

Nikon called their optical-only system the "Creative Lighting System (CLS). The D5 is also compatible with CLS and CLS flashes and their optical wireless control systems.

The D5 has no ability to control or trigger any wireless flashes by itself. To control wireless flash, you have to use an appropriate flash on top of the D5 to work as an optical commander, or buy a WR-R10 to use as an outboard master wireless controller and a WR-A10 adapter to connect the WR-R10 to the D5's 10-pin remote terminal.

To make a multi-flash system, you have to put a flash or WR-R10 and WR-A10 adapter on the D5 to work as the master transmitter, and then use other remote flashes that work either as optical or radio slaves.

To see the flash system's information, press the D5's INFO button twice.

Wireless flash is covered in pages 204~219 of Nikon's D5 User's Manual.

See also Nikon D5 Compatible Flashes.

Optical Wireless Control

For most of us, our existing flashes we used with last year's Nikons will work the same way as optical masters and slaves as they always have.

We have to use a flash on-camera with commander ability to work as the master, no news here.

Radio Wireless Control

We have to buy a WR-R10 and WR-A10 adapter to attach the WR-R10 to the D5.

Once we have the WR-R10 in place, we can trigger remote SB-5000s by radio. We don't need any flash on camera if we use the WR-R10 and WR-A10 adapter at the D5, but as of August 2016 the SB-5000 is the only Nikon flash that responds to radio control.

Flash Suggestions

For on-camera flash, I use my old SB-400 since it's small and light. A midsize flash like the SB-600 or SB-700 is way more than enough if you want to look more intimidating or need a lot of flash power all day long.

For multiple flash, I don't waste my time with Nikon's complicated, expensive and underpowered wireless nonsense mentioned above, which is even more difficult to configure than reading about it. I use a wired Novatron strobe system in my studio and trigger it from the camera with any manual flash. In the field I use a flash on-camera.

The only people who work with Nikon's wireless system are people trying to shoot weddings with assistants to carry the other flashes around, and that's not me. People who set up a multi-strobe shot in a fixed location use more powerful stand-mounted pro strobes, not these little shoe mount flashes.

Auto ISO Minimum and Flash Shutter Speeds

In standard flash sync mode (only a flash bolt seen on the top LCD as you spin the rear dial while holding the Bolt button on the left rear), the D5 shoots at the highest of your selected Minimum Auto ISO Speed (MENU > Cameras > ISO Settings > Minimum shutter speed) or Flash shutter speed (MENU > Custom Settings > e2).

Setting 1/4 for the slowest flash shutter speed (MENU > Custom Settings > e2) won't matter if you set 1/125 as the minimum Auto ISO shutter speed (MENU > Cameras > ISO Settings > Minimum shutter speed). Set both of these, and it shoots at 1/125, not 1/4.

However, if you select SLOW Sync mode (see SLOW and a flash bolt on the top LCD as you spin the rear dial while holding the Bolt button on the left rear), it will forget about the slowest speed set for Auto ISO and allow itself to shoot at the slowest speed set for flash.

Voice Memos

I set my Fn3 button to be the new MIC button (MENU > Custom > f1 > Fn3 > Voice Memo).

Hold it to record a memo while you're playing an image, or when playing an image with a memo attached, press the button to play it.

You have several options for how this option works, and you can set the D5 to auto-record a memo for each shot.

If you don't program Fn3 as the Voice Memo button, you can play voice memos by pressing the i button and select Play Voice Memo.

USB Connection

Connecting the D5 to my Mac Pro via USB never appears as a drive in my Finder as I'd prefer.

Maybe I'm missing something in the Finder, but the D5 does appear in both Photos and in Image Capture for downloading images.

I suspect the USB 3 terminal is tougher than CF card pins for downloading.

Nikon says to install their software on my computer for downloading, but I don't trust Nikon software; it's been too buggy in the past.

Pros use Mac; I have no idea how this works on Windows.

File Types

Image quality (MENU > Camera > Image quality) settings of JPEG Normal ★ or JPEG Basic ★ are higher quality versions of JPEG Normal or JPEG Basic. Nikon used to hide these in another menu as "Quality priority," with "Size Priority" as the default.

The ★ versions make bigger files as needed to maintain the same image quality as the image becomes sharper or more complex.

I use JPEG Basic ★ for everything.

Shooting without a memory card

Don't let yourself do this; be sure to set MENU > SETUP > Slot empty release lock to LOCK.

At defaults, the D5 will shoot all day with no card, making you look like an idiot if it was a wedding and you shot it with an empty camera.



SpecificationsUSA VersionPerformance


The D5 is Nikon's top pro camera of all time because it focusses faster and shoots quicker and better than anything they've ever made. Better Auto White Balance also allows pros to make better pictures faster than the next guy.

Professional photography is an extremely competitive field. Unlike professional racing or golf, there is no prize for second place. You either sell a photo for a spot in a layout or on a wall, or you go hungry. If your shot is just 1% better than the next guy's, your image sells and he doesn't eat that week. The D5 is spectacular; $6,500 is cheap for something you use every day to earn your living and that gives you an edge over the next guy.

We've all heard the joke about the two campers out in the African savanna. They awake one night to the sound of a hungry lion in the distance that looks as if it's about to pounce and eat one of them. One of them starts putting on his boots, and the other asks "why are you bothering? You can't outrun a lion." The second camper replies "I don't have to outrun the lion. I only have to outrun you." It's exactly the same in pro photography; your photo only has to be a little better than the other guy's to win 100% of each sale.

In pro news and sports, frame rate is everything, as well as having an AF system that finds the subject for itself and an infallible Auto White Balance system. With the D5, I don't have to select AF areas or trim white balance manually; I just shoot.

I use CF cards and have the CF version of the D5, while most people who shoot the D5 use XQD cards since they are super fast and don't have delicate pins to bend — which is a huge advantage if you swap cards often, which many D5 shooters do.

I got my two CF-card slot version from Adorama; I'd just as well get the two XQD-card slot version from Adorama, or from B&H with CF card slots, from B&H with XQD card slots, from Amazon (CF version), from Amazon (XQD version) or from Crutchfield in CF version or in XQD version.

This ad-free website's biggest source of support is when you use those or any of these links to approved sources when you get anything, regardless of the country in which you live. Nikon does not seal its boxes in any way, so never buy at retail or any other source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, store demo or used camera. I use the stores I do because they ship from secure remote warehouses where no one gets to touch your new D5 before you do. Buy only from the approved sources I use myself for the best prices, service, return policies and selection.

Thanks for helping me help you!

Ken Rockwell.

More Information


SpecificationsUSA VersionPerformance


Nikon's D5 User's Manual.

Nikon's D5 page.

Nikon's D5 Press Release.

My 2012 prediction of the D5.

© Ken Rockwell. All rights reserved. Tous droits réservés. Alle Rechte vorbehalten.

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